女性禪師的道影－－由「寫真與名言」探析祇園禪師之形象

The Enscribed Portrait of a Female Zen Master--A Study on the Image of Qi-Yuan Zen Master through the Contrast of he Portrait and Verbal Expression

女性禪師－－祇園行剛（1597-1654），有語錄出版留存於世，即名言。語錄首頁有一幅祇園禪師肖像，即寫真。所以當我們欲觀察祇園形象時，善用「寫真」與「名言」的交互印證，更能細膩、完整地呈現。所以本文分成幾類：一、寫真像。二、題自像贊。三、自我形容。四、文本稱謂。五、師友與弟子在文本的相關形象描述，來綜合論析。第二、三類合論，第五類則依性質化歸於前四類中來互相顯發。由此探析出三大意象：「如意」、「寒梅」、「丈夫」。影現出祇園禪師形象是：具有法的印證與臨濟傳承的正統；在悟者的自信風範中，配上內歛謙抑的態度，印現出「法矩嚴謹」與「脫灑清閒」兼具，並包裹在一層離於中性、預設男性為優的意識形象中。於其中亦反映出當時寫真題贊的風氣之流行、法脈源流之繁盛。並辨明所謂稱謂的「偏離中性」、「預設男性」、「男性為優」等佛門稱謂的性別問題。帶出祇園等女性禪師的典範出現給時人的衝擊。研究之方法，採用佛家「道影」之意義，既是一切相「如夢幻泡影」，但又能「即相會心」，所以由寫真、名言，由他人、祇園自己，由時代大環境、佛門大環境等因素，交涉、相印、折射出祇園的道影，以達即相會心之效果。

The female Zen master, Qi-Yuan-Jin-Gang (1597-1654), her dialogues was published and preserved as Ming-yan(名言). On the first page, there is a portrait of the master, which is Xie-Zhen（寫真）. In order to study the image of Qi-Yuan completely, Ming-yan and Xie-Zhen are the two key references. This paper is divided into five parts: first, the portrait of the master; second, the poem by master herself; third, self description; fourth, the title of master in texts. Finally, I analyze the description of the master and her disciples. Thus, I conclude three major images: Ru-yi（如意），Han-mei（HHan 寒梅），and Zhang-fu（丈夫）.These images show that Qi-Yuan Zen master was proved that she had got enlightenment and inherited the Linji Zen school. In addition to that, her confident image also displays both her conscientious and easy attitude. This reflects that Xie-Zhen and the poem by master herself are prevalent at that time; the title that people use usually assumed that the person is a male; besides, people’s attention on the issue of “the male is superior to the female”arose from the appearance of female Zen masters. In order to attain the true meaning of a master’s Tao-ying（道影）, my study method is to discuss the master’s portrait in terms of Xie-Zhen, dialogue, Qi-Yuan herself and others’opinions , the era and the Buddhist environment at that time.